Electronic interpretation of Francis Picabia's infinitely repeating three-note-one-pause musical piece La Nourrice Américaine (1920), using only sinewaves (at 69.30, 87.31, 77.78 and 0 Hz) and a tempo of 60 bpm repeated 840 times (lifted from Picabia's close friend Satie). Quick-and-dirty sequencing with LMMS, editing with sox. Rationale: The first of the two piano interpretations by Tom Feldschuh published by LTM on CD is too fast, the second too slow. In 1920, the piano was arguably the most generic and impersonal musical instrument, today, the sine wave certainly is a better match to Picabia's industrial object drawings from that period. Question: Is the correspondence to Picabia's Portrait d'une jeune fille américaine dans l'état de nudité from 1915, showing a light bulb with "For-Ever" printed on, coincidental or not?

Re-issue of Meet Lt. Murnau, 1983:
"Lieutenant Murnau was invented as the name of a ghost musical group. It was started in 1980 and ended in 1984. The image came from a photograph of film director Friedrich Wilhelm Murnau while serving as lieutenant in the German army. This photograph was taken and reproduced onto posters, leaflets, fanzines, badges and all other memorabilia of pop mythology to create an interest in something that did not exist. The next step was to provide Lt. Murnau fans with invisible music. I managed to produce various records and cassettes without playing a single note, simply releasing mixages of recorded music. The 'Meet Lt. Murnau' tape, for example, was a deliberate confusion of Beatles and Residents records. I also used soundtracks of F.W. Murnau's films and music provided by other groups in hommage to Murnau. To mess up things even more, I had some of these tapes and records released in different countries by different people. Lt. Murnau also appeared on stage, masked, mixing different records and crucifying a Beatles LP. Hundreds of life-size Lt. Murnau-cardboard masks were printed which people could wear. Anybody could make Lt. Murnau music and become Lt. Murnau, and a few people did it. The whole project was focussed on a very limited idea, that of underground music, and did not have the broader implications of the Monty Cantsin philosophy. Yet, I think, the problems remain the same." (Vittore Baroni)